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Home , Dia Azzawi, Hanaa Malallah, Ibrahim Salim Saad, Iraqi art, Jabra Ibrahim Jabra, Shakir Hassan Al Said

94 Essay

The reason for the Project – Art In Today By Charles Pocock

a series of exhibitions displaying the work of a group of contemporary Iraqi artists. We knew that the project would be a critical success, though not necessarily a commercial one, but we both believed that it was essential, not just for Iraq but also for the entire region. Two months later, in his critique of Col. Qais Hussein’s report surveying ’s explosions, Anthony Shadid of the New York Times noted that the house of (b. , 1919-1994) had been destroyed along with all his papers. ‘Jabra’s house represented something far greater that has been lost,’ Shadid writes, ‘To some, its destruction serves as an epitaph of sorts, the end of eras in Iraq and the Arab world and the eclipse, in war and strife, of the ideal he represented.1 It was then that we decided to dedicate the project to the memory of Jabra Ibrahim Jabra and his seminal essays about modern , titled ‘Art in Iraq Today’ (1961) and ‘Iraq Art Today’ (1972). The exhibition series and corresponding publication, Art

Jabra Ibrahim Jabra, Baghdad, 1970s. in Iraq Today, thus marks the fiftieth anniversary of Jabra’s scholarly contribution, which was initiated in a I am often asked why we chose the title “Art in Iraq different era, when Iraq was a very different country. Today” for the book and exhibition series when the Modern Iraqi art represents one of the main foundation artists discussed are now part of the Iraqi diaspora and stones of modern Arab culture and by proxy, modern their recent work, exhibited at our Gallery, is more Middle Eastern culture. As with , modern and an outcome of their experiences as expatriates than a contemporary culture in Iraq draws heavily on its rich reflection of what art in Iraq is today. One of the major pre-Islamic and Islamic heritage, from ancient times aims of this project was to highlight the enduring talent that brought us the Sumerian, Babylonian, Assyrian and of contemporary Iraqi artists despite the circumstances Abbasid civilizations through to Ottoman Baghdad, the that have forced them to relocate to various parts Iraq of the “Baath” party, and today an Iraq that has of the globe. Seeing that the artists discussed in this been ravaged by foreign invasion. publication spent their formative years in Iraq, and In November 2010, during the lecture organized in have been profoundly shaped by such experiences, their conjunction with TDIC and NYU Abu Dhabi Institute work carries within it, along with their experience of during the Abu Dhabi Art Fair, Nada Shabout, Shiva exile, traces of what contemporary art in Iraq might Balaghi, Dia Al-Azzawi and Parviz Tanavoli spoke have been today. Art in Iraq Today should therefore be about the artistic life of Iraq and Iran, the similarities of seen as more emblematic than literal in its message. The how both cultures are defined was identified. Though title also needs to be understood in the context of the completely distinct from each other in many ways, each project’s inception, which is specifically linked to the nation mirrored events that formed the independent writing of pre-eminent art critic Jabra Ibrahim Jabra. cultures of each country - through to the present day In March 2010, Dia Al-Azzawi and I discussed running Essay 95

Jewad Selim, Atta Sabri, Hafidh Al-Droubi and others,Baghdad, 1940s. with the rise of Ayatollah Khomeini and Saddam the subsequent decades include the Impressionists (Al Hussein - their demise and in the case of Iraq, the Intiba’ieen), Innovationists (Jama’at al-Mujadidine), disintegration of the cultural fabric of its society. and New Vision Group (al-Ru’yya al-Jadidah), who In the 1970s, Iraq, specifically Baghdad, was at the were predominately responsible for encouraging a pan- centre of a pan-Arab art movement. The country’s art Arab focus, and the Al Wasiti Festival, which in turn scene and exhibitions, such as the 1971 One Dimension led to the launch of the Union of Arab Plastic Artists.4 Group show, were bolstered by the highly influential During the late-1960s, a number of Iraqi artists began Al Wasiti Festival held in 1972.2 A year later, the First to exhibit their work outside of the country, with Al- Congress of Arab Artists was held, followed by the Nasiri and Al-Azzawi exhibiting at Gallery One in First Arab Biennial in 1974. Prominent artists, who ,5 followed by shows in Kuwait in 1969 at the contributed and encouraged such collectives included Sultan Gallery. It was the Al Wasiti Festival, however, , Dia Al-Azzawi, Rafa Al-Nasiri, that had the greatest impact on the artistic scene, both Ismail Fattah and Kadhem Hayder. The artists of this locally and internationally, since it brought together generation had followed what had been established by artists from across the Arab world including Mohamed Faiq Hassan in the 1950s with the Pioneers Group Melehi, Mohammed Al-Qasmi and Mohammed (Al Ruwad ) and developed further, and in a different Chabia, from Morocco, Al-Hadi Al-Turki from Tunis, direction, by Jewad Selim and his formation of the Araf Al-Rays and Amine Al-Basha from , and Baghdad Group of Modern Art (Jama’at Baghdad lili Al-Bahjory from Egypt. This added a new dimension Fen al-Hadith).2 Further artistic groups formulated in to modern Arab art, reinforcing a commitment to pan- 96 Essay

as ‘The Grass Roots of Iraqi Art’ (1983). During the late 1970s and early 1980s, it became clear to many artists that the art movement, that had originally developed organically and free of political intervention from the 1950s, was becoming a political tool of propaganda for the mandarins of the Baath party. Forced to work within the parameters set by the government in state funded shows – the Party Exhibition replaced the previously established Iraqi Artist Society annual exhibitions - because of the supremacy of the one-party state, a number of leading artists decided to leave Iraq for Europe and North America. In a milieu where the Iran-Iraq war pervaded every aspect of daily life, the government became the only dominant patron of the arts . Monuments such as the Unknown Soldier (1982) by Khalid Al-Rahhal, The Martyr’s Faiq Hassan, Baghdad, 1960s. Monument (1983) by Ismail Fattah7 and The (1989), initiated by Al-Rahhal and completed by Mohamed Ghani, dominated the cultural program of the1980s. The vibrant, intellectual approach to art in the previous decades became increasingly overpowered by the pressure to promote a political message, which resulted, in 1986, in the replacement of the National Museum of Modern Art with the Saddam Arts Centre, demonstrating the complete domination of the state over the arts. The Iran-Iraq War was quickly followed by the invasion of Kuwait and the resulting sanctions imposed on Iraq by the United Nations. Creative expression posed an even greater challenge, and it became extremely difficult for artists to earn a living within the country, forcing many to emigrate. Even so, artists such as Ghassan Ghaib, Ali Jabbar, , Mahmoud Obaidi, Mahmoud Sabri, Baghdad, 1950s. Kareem Risan and Nazar Yahya remained in Iraq, and Arabism. International exposure was enhanced further in 1992 the last real artistic manifesto was created with exhibitions of Iraqi art in at the Patrick under the name Baghdad Group (Jama’at Baghdad).8 Seale Gallery, Casablanca at Galerie Nadhar, Paris at Devastation of the country deepened following the Galerie Faris and Geneva at Galerie Central. In the 2003 US invasion, resulting in the downfall of the 1970s, many artists began to focus on different media Baath party and the execution by hanging of Saddam such as printmaking—under a movement known as Hussein, making it impossible for artists to continue the Graphics Movement—and ceramics.6 A number of working or remain in the country. groundbreaking publications were also released during The recent years of occupation have led to the obliteration the 1960s, including the critiques of Jabra Ibrahim of the modern and contemporary arts movements Jabra, up until the early 1980s. Notable texts by the in Iraq. The Saddam Arts Centre was looted, and the critic include his 1961 and 1972 Iraqi art essays, as well collections held in the villas of art patrons completely Essay 97

Dia Al-Az z awi, Ismail Fattah and Rafa Al-N asiri, Baghdad, 1960s. ransacked. In April 2003, all records and officially is reflected in their allusions to the Assyrian reliefs held catalogues were decimated during the destruction in , the Maqamat Al Hariri by Yahya ibn of the National Art Library, and in March 2007, Al Mahmud Al-Wasiti,10 and the works of Faiq Hassan Mutannabi Street, the home of Baghdad’s booksellers, and Jewad Selim. Indeed, the return of the Iraqi was destroyed.9 Pavilion, ‘Aqua Ferita’ (Wounded Water), this year at Today, a new generation of Iraqi artists, now part of the Fifty-forth Venice Biennale (2011), which includes the diaspora, is receiving much deserved international the work of Adel Abidin, Ahmed Alsoudani, Ali Assaf, acclaim. This includes Jananne Al-Ani, Adel Abidin, Azad Nanakeli, Halim Al-Karim and Walid Siti, Halim Al-Karim, Wafaa Bilal and Nedim Kufi; their demonstrates the resolute spirit of Iraqi art and artists. works are held amongst major collections in Europe, After thirty-five years of absence from Venice, and North America and the Middle East. Their oeuvres thirty years from the international art world, Iraqi art comprise photography and video installation and is is returning in force as a unified body. It is lamentable conceptual in nature, exploring various manifestations that this is no longer possible within Iraq, however, the of injustice within and outside the Arab world; with contemporary arts of the country undoubtedly remain many of them, the events in the recent history of Iraq in the hearts and minds of artists of the diaspora. Iraqi are expressed in relation to their personal experiences. art now draws increasing attention from international Apart from Al-Ani and Bilal, all started their studies in seasoned collectors and is at the forefront of modern fine art in Baghdad, drawing on the legacies of those and contemporary Arab art yet again. before them. While they do not necessarily demonstrate Presently, nothing in Iraq remains that can relate to the a link to the previous generations of artists in their movements established by the modern art pioneers and choice of medium, they do follow a similar course of the legacies of the Pioneers Group, Baghdad Group of documenting the present by referencing the past. This Modern Art, New Vision Group, and what was expressed 98 Essay

Dia Al-Az z awi, Exhibition poster (1978), Offset printing, 76x51 cm. Hashim Sammarchi, Exhibition poster (1969), Offset printing, 60 x 40 cm. in Jabra Ibrahim Jabra’s essay ‘Art in Iraq Today.’ All this in December 2010, it holds an incredible collection can only be found in the work of displaced artists; they of works by modern Iraqi artists. I believe, what we remain alive in their hearts and minds, wherever they are doing will also make a difference: highlighting the may reside. The creative legacies of the 1950s and 1960s contribution of pioneering artists and movements, generations are intrinsic to an understanding of modern working with artists to compile a complete catalogue and contemporary Arab culture, just as the cultural raisonné of a range of work, and above all producing legacies of classical art, the Renaissance, Romanticism, publications in English and . Impressionism and Expressionism are crucial to the With Art in Iraq Today, there are two key ideas that history of Western culture. What makes the situation form its basis, and refer back to the question of our so tragic is that outside the inner circles of the Iraqi choice of title. The first is the contribution of Jabra cultural community, there is limited knowledge of what Ibrahim Jabra’s study of modern Iraqi art. With the has shaped Iraq’s modern arts scene. Unfortunately, limited availability of modern Iraqi art resources, this also provides opportunities for looters, who sell the significance of Jabra’s essays became apparent. works, often through auction houses and dealers, to Apart from his essays and the work of a few others, unsuspecting and ill-advised buyers who do not have particularly the Modern Iraq Archive (MAIA) initiated access to enough information related to the subject. by Nada Shabout,11 there is very little reliable source On a more positive note, however, modern Iraqi art has material relating to the modern art history of Iraq. With now found a home in the recently established Mathaf: the destruction of Iraq’s museums and libraries, as well Arab Museum of Modern Art in , formally opened as the limited access to written material related to the Essay 99

Rafa Al-N asiri, Exhibition poster (1971), Silkscreen on paper,100 x 70 cm. Hashim Sammarchi, Exhibition poster (1972), Silkscreen printing, 100x 70cm. subject, an initiative to protect such sources was born heritage, be it in science, the arts or literature, has been in the founding of the Al Noor Institute of Middle obliterated through gradual and sometimes orchestrated Eastern Art (NIMEA). The institute holds an extensive destruction, by internal and external forces. The great modern and contemporary Middle Eastern and ancient tragedy is that such actions in Iraq are now accepted in library, with a primary aim being to continue a world where they would otherwise be unacceptable. gathering a comprehensive collection of resources, both When looters in the Cairo Museum damage a Pharonic primary and secondary, relating to the arts of the region. figurine during the revolution of February 2011, the By highlighting the work of writers such as Jabra, international press is horrified. When an entire museum we also hope to encourage an interest in preserving in Baghdad is looted, they pay little attention. What the legacy of art critics and writers of the history of we hope to demonstrate through this publication is modern Middle Eastern art. The second point is that that Iraq’s modern cultural legacy lives on ideologically. the work recently exhibited at Meem, and included in Although a movement develops within a specific this publication, is the work of Iraq today if the Iraq context and includes particular individuals, it is not a of yesterday existed. What has replaced it is a country tangible form; it develops in the mind and it can travel, torn apart by corruption, death, destruction and hatred, it can depart and it can return. The works included in leaving its people a nation with very little hope. There this series cannot be exhibited in Baghdad because of can hardly be room for creativity when there is barely issues with security, but also because there is no longer a any room to exist as a human being. The country’s viable platform for artists left in the country today. The 100 Essay

Martyr’s Memorial by Ismail Fattah, An HH-60H helicopter assigned to the “Firehawks” of Helicopter Combat Search and Rescue Squadron/Special Warfare Support Special Squadron Five (HCS-5) flies over the Martyr’s Memorial in Baghdad while returning from a combat mission. Baghdad, Iraq (Nov. 30, 2003), U.S. Navy photo by Aviation Electrician’s Mate 1st Class Rex Sackett. Image courtesy of U.S. Navy Photo, Use of released U.S. Navy imagery does not constitute product or organizational endorsement of any kind by the U.S. Navy. history of modern Iraqi art, as documented in Jabra’s About The Writer essays, lives and breathes in the artists and the works Charles Pocock is the Managing Partner of Meem Gallery in that comprise this project, which is why we decided to Dubai and the founder of NIMEA (Nour Institute of Middle call it Art in Iraq Today. Eastern Art) and the AL Noor Library. He is cultural advisor to the Abu Dhabi Music and Arts Foundation. He has written and produced books extensively on Modern Art from the Middle East on subjects such as Modern and Contemporary Iraqi Art, Parviz This essay is taken from ‘Art In Iraq Today’ co-published Tanavoli, , Ali Omar Ermes and Abbas Kiarostami by Skira and Meem Gallery, released in the MENA as well as having a regular art column devoted to this subject in Region in November 2011 by Meem Gallery and GCC Journals. He provides commentary on the Middle East Art internationally in the spring of 2012 by Skira. The market to a number of leading international newspapers such publication is sponsored by Crescent Petroleum. as the International Herald Tribune, The Wall Street Journal, Charles Pocock, FRAS is the Managing Director The Financial Times and The Art Newspaper. Pocock is a Fellow of Meem Gallery & Founder of Al Noor Institute of of The Royal Asiatic and The Royal Geographical Societies in Middle Eastern Art (NIMEA) London. Essay 101

Notes this project was the 1980 Third World Graphic Biennial. 1. Anthony Shadid, ‘Baghdad Ruins, Remains of a Cultural In 1979 and 1982, the First Baghdad International Poster Bridge,’ New York Times (22 May 2010), p. A1. Col. Qais Exhibition was held. Hussein’s report (No. 25) was written on 4 April 2010. Recognised ceramicists include Saad Shaker, Abla Al-Azzawi, After the 1948 war, Jabra, a Christian Palestinian, settled in Muqbil Al-Zahawi, Shinyar Abdullah, Wasma Khalid Al Baghdad. He was closely aligned with the artists of the 1950s Chorbachi, Nuha Al Radi, David Kanikanian, Tarik Ibrahim generation, notably Jawad Salim. The house, where he resided and Siham Al Saudi. until his death, also housed an extensive art collection. 7. Recent documentation supplied by Dia Al-Azzawi 2. ‘Iraq Art Today’ (1972) by Jabra Ibrahim Jabra was highlights that the plans for the Martyr’s Monument (also published for the first Al Wasiti Festival and the catalogue known as the Al Shaheed Memorial) was initiated in 1978, designed by Rafa Al Nasiri. prior to the Iran-Iraq War.

3. Formed in 1950, the Pioneers Groups was first named the 8. 1992, Ali Jabbar, Mahmoud Obaidi, Karim Risan and Société Primitive. Members included Ismail Al-Sheikhly, Issa Haithem Hassan, formed the Baghdad Group. Their aim Hanna, Zeid Salih, Mahmoud Sabri, Dr Khalid Al Qassab, was to find a new vision in art ‘beyond style, technique and Dr Qutaiba Al Sheikh Nouri, Dr Nouri Mutafa Bahjat, function that goes straight to the heart of humanity.’ Ulrike Kadhem Hayder, Nouri Al Rawi, Ghazi Al Saudi, Mahmoud Al-Khamis, p. 32. Ahmed, Mohammed Ali Shakir, Sami Haqqi, Hassan Abid Alwan, Jawad Salim and Lorna Salim. Information on 9. Al Mutanabbi Street is located near the old quarter of modern Iraqi art groups is based on Ulrike Al-Khamis, ‘An Baghdad, on Al Rasheed Street. Named after the tenth- Historical Overview: 1900s-1990s,’ in Strokes of Genius: century classical Iraqi poet Al-Mutanabbi, the street has often Contemporary Iraqi Art, ed. Maysaloun Faraj, (London: Saqi been referred to as the heart and soul of Baghdad’s intellectual Books, 2001). community. On 5 March 2007, a car bomb killed twenty-six civilians on Al Mutanabbi Street, making it a security risk for 4. The Impressionists was founded by Hafidh Al-Droubi in shoppers, resulting in the dissolution of businesses. 1953. Despite their name, members, which comprised Al- Droubi’s students at the Institute of Humanities, did not 10. Al-Maqamat is the title of a book written by Abu work under a unified ‘Impressionist’ style. The Innovationists Muhammad al Qasim ibn Ali al-Hariri (1054-1122) which were formed in 1965, and sought to push Iraqi art forward comprises fifty short stories. Because of its highly-crafted by exploring the use of new media and techniques. Founders interchange of prose and verse, the genre of the maqamat include Talib Maki, Nida’ Kazim, Saleh Al Jumai’e, Salem Al received much acclaim amongst contemporaries and Dabbagh, Tahir Jamil, Faiq Hassan and Ali Talib; Amer Al has maintained its influence up until today. Al-Wasiti, a Ubaidi and Khalid Al Naieb joined at a later date. The New thirteenth-century Arab Islamic artist, was renowned for his Vision Group was founded in 1969 by Dia Al-Azzawi, Rafa illustrations of Al-Hariri’s Maqamat. Al-Nasiri, Hashim Samarchi, Saleh Al-Juma’e, Mohamed Mahr Al-Din and Ismail Fattah. Like Jewad Selim, New 11. See www.artiraq.org . Vision emphasised the importance of referencing cultural heritage but with a regional as opposed to a local focus. Their manifesto titled Towards A New Vision was written in the year of the group’s founding.

5. Gallery One was founded by the poet Yusef Al Khal in 1963 when Beirut was considered the cultural centre of the Arab world.

6. The Graphics Movement was formed under the guidance of Dia Al-Azzawi, Rafa Al-Nasiri and Saleh Al Juma’e. In 1978, the First Arab Graphic Exhibition was held in Baghdad and in London at the Iraqi Cultural Centre. An outcome of